LATEST REVIEWS BY THE POPCORN PANEL
No-holds-barred reviews of movies, TV series, and streaming shows by Alex Cearns. 

THE TWISTED TALE OF AMANDA KNOX

This series begins with the 2007 murder of Meredith Kercher (Rihanne Barreto) in Perugia, Italy, and the dramatic arrest of American exchange student Amanda Knox (Grace Von Patten) and her boyfriend Raffaele Sollecito
(Giuseppe De Domenico.) It follows Knox’s subsequent investigation and trial, where she was convicted, then acquitted, and eventually retried. Her legal saga lasted for years until she was finally declared innocent by the Italian Supreme Court in 2015. A harrowing tale of police tunnel vision, intimidation, and coercion driven by lead detective, Giuliano Mignini (Francesco Acquaroli) who refused to consider evidence pointing to someone else as the person responsible for Meredith’s death. In truth, Knox’s only crimes were naivety and foolish decision making. As an executive producer and co-writer (alongside Monica Lewinsky) Knox had significant influence over the story, which is reflected in some of the self-indulgent writing. It monotonously hammers points home and feels exploitative of Meredith’s tragic death, with Knox taking the primary victim spotlight. While the traumatic treatment she endured at the hands of the Italian police and justice system is undeniable, condensing this eight episode drama into a two hour movie or a three part miniseries would’ve had more impact. I lost interest.

SCORE:

Alex's Score 6/10

Amanda’s Score 6.5/10

GOOD BOY

When Todd (Shane Jensen) moves to his family’s abandoned house in the woods with his loyal Nova Scotia Duck Tolling Retriever Indy, a malevolent force awakens. Each scene is either shot from Indy’s point of view or features him prominently, creating a unique perspective that highlights how dogs interpret the world around them. Filming took more than three years and over 400 camera days due to strict rules limiting how long animals can work on set. Indy’s owners, director Ben Leonberg and his wife, producer Kari Fischer, did a majority of the principal photography themselves, with the dialogue added in during post production. This ensured the process was as distraction free as possible for Indy and allowed his actions and reactions to be uninterrupted. I have never seen anything like this movie. Its refreshingly original concept is unsettling and brilliant at the same time. Leonberg made it clear in pre-release interviews that “The dog does not die” (not a spoiler – some people threatened not to watch unless told) but knowing that in advance did little to ease my discomfort in the cinema. Masterful manipulation of lighting and sound maintains the tension for the entire 77 minutes. The pacing was spot-on and the clever integration of metaphors kept me engaged – I finally exhaled when the credits rolled. Canine star Indy deserves all of the awards for his outstanding performance, especially for being the absolute goodest boy. He conveys emotion with every fibre of his being and single handedly carries the entire film. Deserving of its wider commercial release, this is a homage to man’s best friend that exceeded my expectations. Can see it becoming a cult classic.

Also not to be confused with the Stephen Graham movie of the same name released in September 2025, where he kidnaps a teen criminal and locks him in the basement.

SCORE:

Alex's Score 10/10

Duncan S’s Score 8.5/10

Amanda, Matt, Claire’s Score 8/10

Kate’s Score 7.5/10

Ann and Sonya’s Score 7/10

Duncan D’s Score 6/10

Tony’s Score 4/10

Kelly’s Score 3/10

BLACK RABBIT

This 8 episode mini series stars Jude Law and Jason Bateman as brothers Jake and Vince. Jake is a diligent, part-owner of the popular NYC restaurant Black Rabbit who seemingly has his life under control, while Vince is a chaotic, freeloading addict drowning in $140,000 debt. In their younger years, the brothers were in a moderately successful grunge band, called ‘The Black Rabbits’. When local thugs demand money owed to them by Vince, it sets off a disastrous chain of events that disrupt the brothers lives and impact their friends and colleagues. Law and Bateman have a convincing dynamic, capturing a complex mix of brotherly obligation and resentment. They push each other’s buttons and constantly bicker. With his unkept appearance, imbecilic decisions, and wise-cracking remarks at inopportune moments, Vince is not entirely likable, but he provides moments of humour. He constantly draws Jake into his conflicts and never takes responsibility for his actions. From the creator of Ozark, the similarities between the shows are evident. Both feature a gritty undercurrent of suspense, contain elements of violence, have high production values, showcase excellent writing, and star a talented cast. However Black Rabbit firmly establishes its own identity with a gripping story, and it doesn’t crossover into Ozark territory. The end of each episode will leave you hanging out for more. A dark top notch drama worth bingeing.

SCORE:

Alex's Score 8.5/10

Amanda’s Score 8.5/10

HIM

alented NFL draft pick Cameron Cade (Tyriq Withers) is invited by retired quarterback legend Isaiah White (Marlon Wayans) to train at his secluded desert compound. White pushes his prodigy to the limit with his brutal and unorthodox teaching methods. As the training intensifies, Cade begins to question the physical and mental sacrifices required to become the G.O.A.T. His dreams eventually come to fruition when his favorite team “The Saviours” decide to sign him, but by then he has doubts. Wayans is unnerving as White, a juiced up megalomaniac whose demeanour frequently switches from furious to friendly. He surrounds himself with sycophantic yes-men who follow his every command, even at the cost of physical harm. Toxic masculinity oozes at every turn, as White relentlessly pushes Cade towards his obsessive standards of excellence. Hints at Cade’s fate are subtly implied with references to the Last Supper and the Prodigal Son. Set against minimalist, stylised backgrounds showcasing stunning architecture, the film features innovative x-ray effects that show what happens internally to bodies during the violent sequences. A bizarre group of White’s fans act as a metaphor for the fanaticism found in some die-hard sports fans, and they add a warped element to the story. Watch for Julia Fox, brief ex-girlfriend of Kanye West, as White’s deranged wife Elsie. Despite its negative reviews, I enjoyed this movie. It’s an intense, bloody journey about the cost of power. No guts, no glory.

SCORE:

Alex's Score 8/10

STRANGERS: CHAPTER TWO

This film is the middle instalment of a trilogy, with ‘The Strangers: Chapter 1’ released in 2024 and ‘The Strangers: Chapter 3‘ due out in 2026. All three movies were filmed back-to-back and form a continuous story, so they don’t stand alone. Well done me then on watching Chapter 2 without seeing Chapter 1. I had to piece together the backstory from limited flashback clues, but the plot for both movies seems be pretty much the same apart from their locations. The entire franchise revolves around three masked serial killers targeting random strangers. They don’t have a motive – they are just psychopaths. In Chapter 2, the lead character Maya wakes up in a small town hospital bed with stab wounds, then spends 90 minutes making questionable decisions and relentlessly fighting for her life, as she’s hunted down by the strangers. It gets tedious and doesn’t have a resolution. The pacing is fast, with frequent jump scares and a few queasy bits, though a couple of animal cruelty scenes put me off. I’ve seen my fill of Maya battling these nut jobs, so unless that feeling wears off by early next year, Im not sure l’ll watch Chapter 3. A clever marketing ploy would’ve been to release all three films together as a triple header and do long, late night screenings. Maybe then Chapter 2 would’ve felt like a valid time investment.

SCORE:

Alex's Score 5/10

Kate’s Score 4/10

SWIPED

At the age of 30, Whitney Wolfe Herd (Lily James) became the world’s youngest self-made female billionaire. Initially one of the four co-founders of Tinder, Herd faced sexual harassment and toxic workplace behavior within the company. Following a nasty breakup with a colleague, she was eventually forced out. Motivated by her experiences and the desire to create a positive, safe online space for women, she started her own dating app called Bumble – which reached over 100 million users in 2020. This Hollywood biopic is part fact, part dramatisation. It highlights Herd’s struggle to break into the male-dominated tech industry, shedding light on the misogynistic “tech-bro” culture present in some startups. While it feels made for tv, this is a watchable film with an inspiring story.

SCORE:

Alex's Score 7.9/10

ALL OF YOU

Best friends since university, Simon (Brett Goldstein) and Laura (Imogen Poots) have always had unspoken feelings for each other. There’s no reason why they can’t be together, they’ve always denied their attraction. Set in the near future, technology exists that can determine someone’s soulmate, Laura decided to take the test. She discovers her soulmate is Lucas (Steven Cree) and they marry and have a child. Meanwhile, she ends up entangled with Simon. They engage in multiple affairs, seemingly without consequences, and struggle against Laura’s predetermined fate. Heavy in dialogue, I found the acting stilted, particularly from Goldstein who doesn’t quite have the rom-com lead vibe. His performance felt inauthentic and there was little chemistry between him and Poots, making their connection seem forced. Even Poots’ delivery of some lines felt off. The plot jumps forward in chunks, with no way to tell how much time has actually passed. Boringly, the story cycles in circles as Simon and Laura continuously get together, then pull away. While the film asks whether people can truly control who they love, it’s not a new concept and offers nothing fresh. The end gives zero payoff for sticking it out. An unappealing disappointment.

SCORE:

Alex's Score 4.5/10

LILITH FAIR: BUILDING A MYSTERY

In 1997, singer-songwriter Sarah McLachlan founded the groundbreaking all-female music festival ‘Lilith Fair’. At a time she was fed up with the misogyny she faced in the industry, like being told to lose weight and having radio stations refuse to play back-to-back female artists on air, believing listeners would change the station. This 90 minute doco captures how the festival was initially ridiculed, before it proved critics wrong with sold out shows and became a commercially viable hit, with 135 concerts held across America across three consecutive summers. Drawing from over 600 hours of footage, it also highlights how the festival provided a safe space for artists and attendees who often felt marginalised in their daily lives – including producer Dan Levy (‘Schitt’s Creek’) who attended when he was 12 years old. The Lilith lineup featured artists like Sheryl Crow, Tracy Chapman, Paula Cole, Jewel, the Indigo Girls, Missy Elliott, Sinead O’Connor, Nelly Furtado, Natalie Merchant, Shawn Colvin, Bonnie Raitt, Chrissy Hynde, Suzanne Vega, Erykah Badu, Liz Phair, Patti Smith, Emmylou Harris, and Lisa Loeb, to name a few. Despite growing sexist backlash and negative stereotypes (mostly from mainstream media) for the three years that it ran, the pioneering joy of Lilith Fair beat down its haters. McLachlan generously donated over $10 million from ticket sales to various women’s charities before ending the event in 1999, citing burnout. She built a mystery but left a legacy. Take a nostalgic trip down a musical memory lane.

SCORE:

Alex's Score 8/10

Amanda’s Score 8/10

WAYWARD

Trans police officer Alex (Mae Martin) moves to picturesque Tall Pines, Vermont, the small hometown of his pregnant wife Laura (Sarah Gadon) who left 15 years earlier. He becomes suspicious of activities at the Tall Pines Academy, a cult-like institution for wayward teens led by the mysterious Evelyn (Toni Collette). After discovering that dozens of students have run away or gone missing, Alex discovers the academy’s sinister nature and the strange control Evelyn exerts over the town. Teaming up with two troubled teens, Abbie (Sydney Topliffe) and Leila (Alyvia Alyn Lind) who are desperate to escape the institute, he uncovers Evelyn’s methods of emotional and psychological control, aimed at severing family ties. As the series unfold it becomes weirder and more unhinged but also more ridiculous. Non-binary actor Mae Martin, who wrote, created, and executive-produced the series, is unfortunately the weakest link. Their portrayal of Alex falls flat in believability and body language, and there’s zero chemistry between Alex and Laura. On the flip side, Toni Collette excels at playing evil and relishes her role as Evelyn – a woman teetering between a maternal facade and outright cruelty. The ending felt hasty and didn’t offer any satisfactory conclusions. It was clearly intended to leave the story open for a possible second season but rounding out the first one would’ve been a better reward for viewers who persevered that far. Mae Martin fans had high hopes for this show but it didn’t live up to its potential.

SCORE:

Alex's Score 6.5/10

Amanda’s Score 6.5/10

THE SMASHING MACHINE

Dwayne ‘The Rock’ Johnson stars as mixed martial arts (MMA) pioneer Mark Kerr in this biographical drama set in the late 1990’s. Based on real-life events from the 2002 doco ‘The Smashing Machine: The Life and Times of Extreme Fighter Mark Kerr’, it chronicles the early days of his career and his emerging dominance in the ring. It also exposes Kerr’s volatile and toxic relationship with girlfriend Dawn Staples (Emily Blunt) as well as his struggle with painkiller addiction. Johnson is unrecognisable as Kerr, with an even more jacked physique than usual, a realistic wig and dark contact lenses. In his most vulnerable and serious role yet, it’s the first time he’s shown his full acting range – or had material to work with that stretched his abilities. It’s a world away from his usual action comedy typecasting. He balances Kerr’s strength and sensitivity with an authentic rawness. Blunt also gives it her all as Dawn, a woman who is mentally unravelling. Both leads carry the film and are flawless in portraying their dysfunctional characters. This is a story about relationships first and fighting second. The fight scenes help push the narrative forward and involve bloody, intense bare-knuckle brutality. There’s a nice touch in the closing scene that brings the film into the present day. A gritty production that punches above its weight category.

SCORE:

Alex's Score 8.5/10

SPLITSVILLE

Carey’s (Kyle Marvin) wife Ashley (Adria Arjona) asks for a divorce, prompting him to seek support from friends Paul (Michael Covino) and Julie (Dakota Johnson). When he discovers that their happiness comes from an open marriage, he ends up in bed with Julie. This act strains his friendship with Paul, leading to chaos and disarray. An early fight scene between Carey and Paul is hilarious but it was the only time I laughed. This main issue with this film is that it tries too hard to be funny. Then, as the plot progresses, it becomes increasingly farcical and none of the characters have any redeeming qualities. Weirdly Marvin has several full-frontal nude scenes which feel out of place, especially since the other characters are always covered up. I’m not a nude prude, but seeing his junk again and again feels excessively gratuitous. A weird and chaotic movie about unlikeable people making a mess of their lives.

SCORE:

Alex's Score 6/10

THE TWELVE: CAPE ROCK KILLER

The third season of this legal anthology sees returning barrister Brett Colby (Sam Neill) defend the husband of a close friend, Alan Chaplan (William Zappa) who is accused of murdering a woman writing a book about an unsolved crime from 1968. His trial leads to the re-examination of the cold case, where the suspect who murdered two teenage girls on a Cape Rock beach has never been found. The series also delves into the impact the case has on the personal lives of its twelve jurors and how their emotional baggage and interactions impact their decision making. Filmed in Western Australia, the facade, staircase, and foyer of the real Parliament House stand in for the Supreme Court. Neill is decent in his role, thought the material isn’t much of a stretch for him. A well-crafted Aussie thriller, with a surprise twist at the end. Shout out to my friend Claire Leach who played juror Regina Lewis.

SCORE:

Alex's Score 7/10

Amanda’s Score 7/10

ONE BATTLE AFTER ANOTHER

Bob (Leonardo DiCaprio), a former revolutionary b*mb expert and member of the French75 gang, now lives in a secluded forest cabin with his 16-year-old daughter Willa (Chase Infiniti). A devoted dad, he spends his days in a haze of pot and paranoia. When Bob’s old adversary Colonel Stephen Lockjaw (Sean Penn) shows up, chaos reigns, forcing Bob and Willa to fight for their survival. Themes about the meaning of family and the ties that bind are set against a backdrop of politically charged tension – and this film has a lot to say. The action is relentless and the 2 hour and 50 minute runtime flies by. It features some impressive stunts and a tonne of laugh-out-loud moments, mostly revolving around a stoned Bob. The final car chase feels like you’re on a rollercoaster, placing you in the scene thanks to clever cinematography. DiCaprio is phenomenal as the erratic but likable Bob, while Penn embodies Lockjaw with an uptight, hair trigger malevolence. It’s the best performance of his career and he goes completely off the chain – your skin will crawl. Both could be in Oscar contention. Mention must be made of Benicio Del Toro as Willa’s Sensei, Sergio St Carlos, and Teyana Taylor as her tough-as-nails mother, Perfidia. The musical score has a Tarantino vibe to it at times, though the script is lacking his trademark violence. For all of the shootouts and explosions, the level of gore is low. A turbocharged, frenetic thriller!

SCORE:

Alex's Score 8/10

Amanda’s Score 7.5/10

KANGAROO

Disgraced and canceled TV weatherman Chris Masterman (Ryan Corr) ends up in a remote town in northern Australia after an on-air stunt goes awry. When he accidentally hits and kills a kangaroo with his Corvette, he discovers a joey still alive in her pouch and decides to take her to the town of Silver Gum. There he meets Charlie, an Indigenous girl who cares for orphaned joeys. Despite his reluctance, Chris becomes increasingly involved in raising the joeys with Charlie. His journey leads him to find a new family in the outback community and brings purpose to his life. Inspired by wildlife carer Chris ‘Brolga’ Barns, there’s a powerful conservation message woven throughout. This film superbly showcases country, colour, culture and kangaroos. What a marvellous mix! It’s funny, charming, and bursting with ocker heart. As a professional animal photographer who works with incredible Joey rescue organisations, I was moved to tears several times by the innocence and vulnerability of the adorable joeys. This is soul-stirring cinema, featuring breathtaking scenery, witty dialogue, and a phenomenal Aussie cast, including Deborah Mailman as Rosie, Ernie Dingo as Dave, Rachel House as Jessie (my favorite!), and Lily Whiteley as Charlie. Loved loved loved it.

SCORE:

Alex's Score 10/10

A BIG BOLD BEAUTIFUL JOURNEY

Two emotionally absent strangers, Sarah (Margot Robbie) and David (Colin Farrell) meet at a wedding and hit it off. They soon find themselves in a mysterious car that transports them to a series of magical doors – each one taking them back to a key moment in their life, forcing them to relive past experiences and confront their emotional baggage. By dealing with their past they start to develop a connection with each other in the present. Set in front of visually stunning cinematography, I found the pacing slow but steady. Robbie and Farrell have realistic chemistry and are strong leads – I was worried about his casting but he plays his role authentically. They are complemented by a talented ensemble cast, including Kevin Kline, Phoebe Waller-Bridge, and Jodie Turner-Smith. A nostalgic fantasy romance.

SCORE:

Alex's Score 7/10

I FOUGHT THE LAW

This three part drama is based on Ann Ming’s (Sheridan Smith) 17 year campaign to overturn the double jeopardy law in the United Kingdom. Her daughter Julie Hogg was murdered in 1989 and her body was discovered in her own home, hidden under the bathtub, 80 days later. Her killer Billy Dunlop was acquitted after two trials but later confessed to the crime in jail. Ming fought tirelessly to change the 800+ year old law, and pushed for the amendments to include retrospective retrials for the same offence. Her courage and tenacity eventually led to Dunlop being retried and finally convicted of Julie’s murder. This true story is infuriating, filled with antiquated legal processes and police incompetence. It’s satisfying to know that justice was eventually served, but only because Ming refused to give up. Smith delivers an emotional, convincing portrayal of the devastation and frustration Ming felt. The supporting cast are brilliant and I loved the footage of real-life Ming interacting with them in the final scenes – it really rounded out this moving and compelling series.

SCORE:

Alex's Score 8/10

Amanda’s Score 8/10

THE GIRLFRIEND

Robin Wright (Laura Sanderson) and Olivia Cooke (Cherry Laine) play a game of who’s the biggest psycho in this series. Cherry, a working-class real estate agent, is dating Laura’s son Daniel, and their initial encounter leads to tension after it gets off on the wrong foot. Laura quickly suspects that Cherry is a gold-digging social climber interested only in Daniel’s money. Her desire to protect her son becomes obsessive, blurring the lines between caution and paranoia and she takes extreme measures split them up. Is her behaviour justified or is she losing her grip on reality? Each of the six episodes is presented from Laura and Cherry’s varying points of view, making viewers question who is telling the truth. While the actors fulfil their roles adequately, and the production quality has a stylish aesthetic, none of the characters have any redeeming qualities and there are a few narrative gaps. It’s still engaging enough to keep you watching until the end, eager to find out who to believe. A standout is the soundtrack which dominates every scene, thanks to hits by Lorde, Billie Eilish, PJ Harvey, Diana Ross, Blonde, Macy Gray, Bruno Mars, and the Fine Young Cannibals, to name a few.

SCORE:

Alex's Score 7/10

Amanda’s Score 6.5/10

BARBARA WALTERS: TELL ME EVERYTHING

This engaging documentary is a deep dive into the life and career of iconic journalist Barbara Walters. Known for her fearless interview style, she spoke with world leaders, celebrities, and controversial figures, breaking new ground for women in broadcasting. The sexism, objectification, and bullying she endured from her male colleagues only strengthened her desire to succeed. Featuring behind-the-scenes moments from her most famous interviews and personal anecdotes from Walters herself, the 95 minute run time delivers a comprehensive look at her legacy. The closing scenes depict her final appearance on talk show ‘The View’ in 2014, where a group of accomplished female journalists (including Oprah Winfrey, Katie Couric, and Diane Sawyer) surprise her live on air to express their gratitude. This powerful moment stands as a testament to how Walters paved the way for others to follow. Formidable, pioneering and fearless.

SCORE:

Alex's Score 8/10

LESBIAN SPACE PRINCESS

Introverted lesbian Princess Saira must rescue her ex-girlfriend Kiki after she is kidnapped by three ‘Straight White Maliens’. To save Kiki she embarks on a colourful, intergalactic adventure, pushing through her own self-doubt and agoraphobia, while travelling on a problematic spaceship. Including the voices of Shabana Azeez, Richard Roxburgh, Reuben Kaye and Kween Kong, this Aussie produced animation has moments of humour amidst a zany plot, filled with a crude queer lightheartedness. Some big topics are covered in an almost cheerful manner, leaving the discerning viewer to read between the lines. Not quite my bag but I loved how much my fellow cinema goers were into it – they rolled around with glee at every scene. Has a similar vibe to “Rick and Morty” in how it embraces the LGBTQIA+ community.

SCORE:

Alex's Score 6/10

Steve’s Score 8/10

POINTE: DANCING ON A KNIFE’S EDGE

This Australian-made documentary follows the healing journey of Floeur Alder, daughter of ballet royalty Lucette Aldous and Alan Alder. In the year 2000, at age 22, Floeur was brutally stabbed through her face and neck by a stranger outside her home on a suburban Perth street. The perpetrator who has never been found. She courageously faced the physical and emotional aftermath of this senseless act while trying to rebuild the dance career she loved. As she worked through her trauma, she also grappled with the difficulty of living up to her parents’ world famous dance legacy. Told through archival footage and with interviews from key individuals in Floeur’s life, the story heavily focuses on the profiles of Lucette and Alan and will primarily appeal to WA Academy of Performing Arts students (where Floeur now teaches) and those in the dance community. It felt like a personal project made for family and friends, and would’ve made an engaging 30 minute episode of ‘Australian story’.

SCORE:

Alex's Score 6/10

Kelly’s Score 5/10

DIAMANTI (DIAMONDS)

Filmmaker Ferzan Özpetek (the actual director of this movie) plays himself and invites a group of Italian actresses to lunch. He excitedly shares the idea for his next project – a screenplay that centres on a 1970’s all-female fashion house called ‘Sartoria Canova’ run by two sisters, Alberta (Luisa Ranieri) and Gabriella (Jasmine Trinca). Their team of talented dressmakers and tailors create intricate costumes for the film industry and are under immense pressure to meet an urgent order from an Oscar-winning client. During the lunch, Özpetek imagines how his story will unfold, picturing the personal and emotional struggles of the characters, who are “like diamonds, not easily broken.” This film within a film has witty dialogue and is playfully cheeky. It’s melodramatic in places but has enough humorous moments to keep it from feeling heavy. Ranieri delivers a commanding performance as emotionally abrupt Alberta, while the supporting cast enhances the richness of the story. I loved how it emphasised the deep bonds that connect women and perfectly captured the strength of female friendship. Regrettably the magnificent dress feature on the poster didn’t make an appearance on screen, which felt slightly misleading.

Viewed as a preview to the 2025 Italian Film Festival. Italian with English subtitles.


SCORE:

Alex's Score 8/10

Duncan’s Score 6.5/10

THE BALLAD OF WALLIS ISLAND

Eccentric lottery winner Charles (Tim Key) lives in a large house on remote Wallis Island. In an attempt to relive the past, he commissions his favourite folk musicians Herb McGwyer (Tom Basden) and Nell Mortimer (Carey Mulligan) from ‘McGwyer Mortimer’ to visit the island for an exclusive private concert. McGwyer and Mulligan are former lovers who haven’t spoken in over nine years and still harbour resentment towards each other. As old tensions resurface, Charles desperately tries to hold onto his dream of the duo performing again, but nothing goes to plan. The performances of all three leads are outstanding, particularly Key (who is a co-writer with Basden) as well-meaning but bumbling Charles whose loneliness is gut wrenching. Filled with nostalgia and humour, the story explores meaningful themes of letting go, moving on and the power of music, with breathtaking visuals of the Welsh coastline adding to its charm. Enjoyable and meaningful, with a tonne of heart.

SCORE:

Alex's Score 7.9/10

THE LONG WALK

The Long Walk is a brutal annual test of endurance in dystopian America where 50 boys are selected by lottery to walk along a pre-determined route. They must maintain a steady pace of at least 3 miles per hour and receive a warning if they fall below this speed for more than 10 seconds – three warnings result in on-the-spot execution by a soldier. The sole survivor wins the ultimate prize of having anything they want for the rest of their lives. Powerful themes of human endurance and connection flow throughout, as the boys battle physical and emotional pain, while forming intense friendships along the way. The casting is exceptional and despite the only big name being Mark Hamill (as The Major), every single actor holds their own, especially Phillip Seymour Hoffman’s son Cooper Hoffman as Ray Garraty and David Jonsson as Peter McVries … plus they filmed all of their dialogue while in perpetual motion! Uncluttered and intentional cinematography is used to emphasise the starkness of the environment and the gravity of the journey. With the tag line of “Walk or die” you go into this film knowing that 49 of the boys will be executed but it still doesn’t prepare you for the harrowing experience of watching their deaths unfold. It shakes you to your core and shatters you emotionally. Even if you feel ready, you won’t be. For a film to be considered phenomenal it needs to have impact, make you think, and stay with you for a very long time… this checks all of those boxes. Another outstanding Stephen King adaptation.

SCORE:

Alex's Score 10/10

Saraj’s Score 8/10

Theresa’s Score 7/10

HONEY DON’T!

Queer private investigator Honey O’Donahue (Margaret Qualley) starts looking into the suspicious death of a young woman, which quickly leads her to a cult-like church and its slimy, charismatic leader, Reverend Drew Devlin (Chris Evans). The film is set against the depressing, dusty location of Bakersfield, California, with gritty noir-inspired cinematography. As a modern take on the classic detective story, it blends sharp wit and dark humour with wincing violence. Loved the performances of Qualley (who was mesmerising in her deliberateness) and Evans (who was grotesque in his self-reverence) and the concise dialogue that cuts straight to the point. I just wished it had 15 additional minutes added in at the end to fully flesh out the story and not wrap it up as neatly and quickly as it did. The plot twist was unexpected though! Left me wanting slightly more.

SCORE:

Alex's Score 8/10

THE CONJURING: LAST RITES

Set in the 1980s, this ninth installment in the franchise sees the return of paranormal investigators Ed (Patrick Wilson) and Lorraine Warren (Vera Farmiga) reluctantly taking on one final case. Inspired by a real-life haunting in Pennsylvania, they are tasked with exorcising a demon from the Smurl family’s residence and saving their possessed daughter Judy (Mia Tomlinson). Creepy fan-favourite doll Annabelle, featured in three previous Conjuring universe films, also makes an appearance. Dark, moody cinematography, styled to reflect the 80’s, plus a relentless stream of bone-shaking scares, deliver plenty of horror chills. The plot is reasonably engaging but promoting this movie as truth is questionable given a large amount of creative license has been taken with the story and Judy’s involvement in the Smurl’s situation was 100% fictional. The “farewell” ending was too sentimental for my liking and felt like an undeserved shortcut for this final chapter. Spooky and unnerving but nothing overly new.

SCORE:

Alex's Score 7/10

Amanda’s Score 8/10

BAD GUYS 2

Reformed Bad Guys, Mr Wolf, Mr Shark, Ms Tarantula, Mr Snake, and Mr Piranha, are trying to build new lives and earn respect as the Good Guys. Their attempts at honest living on the right side of the law are interrupted when an all-female gang, led by Kitty, uses the Bad Guys’ signature crime style to frame them for a major heist. Captured by Kitty’s gang, the Bad Guys are forced out of retirement for one last job. Kitty demands they help her steal a rocket ship and threatens to reveal the true identity of Mr. Fox’s girlfriend, Governor Diane Foxington who is secretly a notorious villain called Crimson Paw, if they refuse. The likeable gang features the original voices of Sam Rockwell (Mr Wolf), Marc Maron (Mr Snake), Awkwafina (Ms Tarantula), plus the dulcet tones of newcomer Natasha Lyonne (Doom). This fun animated tale has ample action sequences, puns, jokes, and thumping beats to entertain both kids and adults. It also weaves in meaningful lessons about friendship, loyalty, and good triumphing over evil. There isn’t much depth but it’s still a colourful, engaging and high-spirited watch. “What the thorax?” indeed.

SCORE:

Alex's Score 7/10

HER LAST BROADCAST: THE ABDUCTION OF JODI HUISENTRUIT

This three-part documentary series explores four possible suspects in the 1995 abduction of news anchor Jodie Huisentruit. She disappeared under mysterious circumstances from the parking lot of her Iowa, USA, apartment after failing to show up for work one early morning. Interviews with friends, coworkers, and police piece together her last days and help to create a profile of her potential assailant, but I found it frustrating that no definitive resolution was reached. The current sergeant in charge of the case, Terrance Prochaska, has evidence that still hasn’t been tested for DNA (in 30 years!) and he played the “unable to comment due to an active investigation” card multiple times. It seemed like the series was the passion project of investigative journalist Maria Awes, and while her commitment to uncovering the truth is commendable, with so many areas off-limits and no firm conclusions made, maybe the timing of it was premature. It didn’t further the case at all. Fingers crossed Sgt Prochaska knows as much as he was implying.

SCORE:

Alex's Score 6/10

Amanda’s Score 6.5/10

HEADS OF STATE

After U.S. President Will Derringer (John Cena) and U.K. Prime Minister Sam Clarke (Idris Elba) have a public disagreement, their aides suggest they present a united front and fly to an upcoming NATO summit together. En route, Russian arms dealer Viktor Gradov (Paddy Considine) shoots down their plane but the leaders miraculously survive by parachuting down to the ground. Stranded in enemy territory, they go on the run from Gradov’s men and are forced to work together to stay alive. Meanwhile a joint MI6/CIA team is tracking Gradov, a global surveillance program called ECHELON has been hacked, and Derringer and Clarke still need to reach the NATO summit. Yep, it’s as far fetched as it sounds. The producers seem to be relying on the star power of the leads to attract an audience. Cena plays to type but Elba’s talents are wasted in this over the top action flick. The fast pace and lightheartedness will appeal to those with zero expectations, but if you’re looking for something with more substance you’ll be disappointed. There’s a reason it was only made for streaming. Average on all levels.

SCORE:

Alex's Score 6/10

HEART EYES

When advertising agency colleagues Ally (Olivia Holt) and Jay (Mason Gooding) are forced to collaborate on a project, they decide to meet for dinner, coincidentally on Valentines Day, to prepare. While at the restaurant Ally spots her ex-boyfriend with his new partner, and in an impulsive moment she kisses Jay. They get noticed by the ‘Heart Eyes Killer’ who mistakenly believes they’re a couple. Throughout the night, they are relentlessly pursued by the masked murderer and must fight to survive. Along the way their relationship begins to develop, adding another layer to their already tense situation. There are a few slapstick, funny moments and some quirky kills, blending slasher and rom-com elements. But as the plot progresses, it becomes increasingly ludicrous and is really silly by the end. Sometimes it’s ok to keep it simple.

SCORE:

Alex's Score 5/10

JAWS

Run, don’t walk, into your local cinema to watch the 50th anniversary re-release of this iconic film. For those of us who were too young (ahem!) to catch the original on the big screen, it’s a must see. It still holds as much tension and horror as it did back in 1975. I will forever be team shark but the acting, special effects and cinematography make it the perfect film. I said what I said. Highly recommended!

SCORE:

Alex's Score 10/10

Amanda’s Score 9.5/10

Duncan’s Score 9.5/10

THE ROSES

CONTAINS SPOILERS! As a reviewer I know that having high expectations before a film’s release is risky and can lead to disappointment. Sometimes it’s hard not to though, especially when a trailer is excellent. I was so looking forward to this remake of ‘The War of the Roses’ … but didn’t love it as much as I’d hoped to. It’s good but I wanted it to blow the roof off. Benedict Cumberbatch and Olivia Colman play husband and wife, Theo and Ivy. When Ivy’s career as a chef takes off, Theo’s days as an architect come to an abrupt end after one of his buildings disastrously collapses. He decides to stay home and care for their twins, which leads to a strange subplot involving Theo imposing a militarily style, almost abusive, fitness regime on them. He also seems obsessed with making sure their daughter doesn’t grow up to be “fat” which is ick. Theo and Ivy’s different trajectories cause them to drift apart and they begin to question why they’re still together. Things quickly head south. Cumberbatch masterfully portrays Theo’s nuances, to the point that I despised the character. He spent years irresponsibly and recklessly spending Ivy’s money on a house he designed, which she then had to fund by opening more restaurants. When they decide to divorce, he selfishly demands full ownership of the house and criticises Ivy for never being at home. He claims to have raised the children alone, when his lack of financial contribution forced Ivy to work relentlessly to cover his excessive expenditures and pay their bills. His vindictive actions in burning her antique cookbooks, destroying her one-of-a-kind French stove, and attempting to poison her with raspberries (which she’s fatally allergic to) were malicious and downright criminal. What a coat tail riding grifter! Coleman shines in any role she takes on and her monologue near the end of the film was “chefs kiss”. She’s one of my favourite actors and does her absolute best with the material. Knowing that Cumberbatch and Coleman are good friends in real life definitely influenced my perception of their on screen relationship. I felt like they were two mates playing around on set, pretending to be married. While their chemistry didn’t quite reach that of a couple in love, they were still highly entertaining to watch, and the snarky barbs they traded landed effectively. Sadly the supporting characters were just okay and none of them had any redeeming qualities. I was confused by Kate McKinnon’s role which felt like a series of average SNL skits. On the flip side, the film made me laugh multiple times and the audible joy of one lady in the cinema made me laugh even more. The ending satisfactorily wrapped up a dysfunctional relationship where the parties can’t be together but can’t be apart. It was a decent compromise considering my dislike for Theo. Worth a watch for the leads, especially Coleman.

SCORE:

Alex, Duncan S and Sharon’s Score 7.5/10

Duncan D, Ann, Tony, Saraj and Natasha’s Score 9/10

Amanda’s Score 8.5/10

Angela and Kyleigh’s Score 8/10

Kelly, Emilee and Chris’s Score 7/10

Leanne's Score 6.5/10

Mick’s Score 6/10

CAUGHT STEALING

Director Darren Aronofsky delivers with this crime thriller. Austin Butler stars as Hank Thompson, a former baseball prodigy turned bartender who gets caught up in a dangerous web of violence in New York City. When Hank agrees to watch his neighbour’s cat Bud, he unwittingly attracts the attention of ruthless Russian mobsters and menacing Hasidic thugs, who suspect he has information about stolen money. As Hank fights to survive and clear his name, he must also grapple with his past failures. Butler sure can act and gives it his all as flawed but likeable Hank. The supporting cast includes Regina Butler, Zoe Kravitz, Bad Bunny, and Liev Schreiber. Amongst the action is a pulsing 90s playlist and a charming feline called Tonic who plays Bud. The plot sounds ridiculous on paper but the way it unfolds makes it completely believable, full of unexpected twists and turns with several “I did not see that coming!” moments. It’s best to not know too much about this film before you watch it and thankfully the trailer doesn’t give away any secrets. Just sit back and enjoy. A rollicking vibe and a cute cat!

SCORE:

Alex's Score 9/10

Megan’s Score 9/10

UNKNOWN NUMBER: THE HIGH SCHOOL CATFISH

This documentary hit my radar after Shayne Jansen posted some questions about it on Instagram and wow … it’s intense! Four years ago, in the small town of Beal City, Michigan, thirteen-year-old Lauryn Licari and her boyfriend of the same age, Owen, started receiving a barrage of text messages. Over time the messages became increasingly explicit and aggressive, and continued for nearly two years. The sender knew private details about the victims locations and activities and the relentless contact began to seriously impact their lives. Lauryn and Owen’s parents worked tirelessly to identify the source of the hate, working with Beal City School and local police until the FBI was eventually brought in. When they finally apprehended the perpetrator, the entire community was shocked by who it was … and you will be too. This is one of the most blindsiding docos I’ve ever watched and by the end, my jaw was on the floor. Gripping, reprehensible, and unfathomable.

SCORE:

Alex's Score 8.5/10

Amanda’s Score 8.5/10

THE ASSESSMENT

Set in a future dystopian society ravaged by climate change, the government now enforces strict controls over reproduction. When Mia (Elizabeth Olsen) and Aaryan (Himesh Patel) decide to become parents, they must undergo an intense seven-day live-in assessment conducted by Virginia (Alicia Vikander) to determine their suitability. What begins as a hopeful experience for the couple quickly turns into a psychological nightmare, testing their relationship and pushing their moral boundaries. Virginia’s behavior grows increasingly strange and questionable, as she erratically switches between the persona of a mature adult and a child. The performances are persuasive, with Olsen and Patel’s characters gradually breaking down emotionally as the parenting tests progress. The story is hard going though, with the ending offering little resolve. Intense, emotional and depressing. 

SCORE:

Alex's Score 6.5/10

CAPTURING THEIR KILLER: THE GIRLS ON HIGH BRIDGE

This three-part series explores the tragic February 2017 murders of 13 year old Abi Williams and 14 year old Libby German in Delphi, Indiana. The best friends set out on a day hike, but when they didn’t return at their scheduled time, a search was launched. Sadly their bodies were discovered the following day near the Monon High Bridge Trail. Abi captured phone and video footage of a man who was following them, who became the prime suspect known as the “bridge guy.” Interviews with key people involved in the case, including the victims’ family members and friends, shows how the murders shattered the close-knit community, creating an atmosphere of fear and mistrust. Parts of this series give rise to wild-goose-chase theories which don’t deserve a mention – especially since irrefutable evidence saw local man Richard Allen convicted of the murders. He eventually confessed to the crimes and was sentenced to 130 years in prison. Riveting and heartbreaking, but should’ve focussed less on Richard’s wife protesting his innocence.

SCORE:

Alex's Score 6.9/10

HIJACK

During a flight from Dubai to London, corporate business negotiator Sam Nelson (Idris Elba) uses his skills to try and save everyone on board when the plane is taken over by hijackers. Simultaneous storylines focus on the authorities attempting to de-escalate the situation and understand the motives behind the hijacking. This fictional series unfolds in real time with each of its seven episodes taking place during the course of the seven-hour plane journey – an engaging concept if it can hold viewer interest. Sadly, in this case, it can’t. The cast and visual production hold this series up against its far fetched plot and technically inaccurate content. The disappointing and confusing ending wasn’t the payoff I expected for making it that far. More filler than thriller.

SCORE:

Alex's Score 6/10

Amanda’s Score 7/10

THE INSTITUTE

When twelve year old genius Luke Ellis (Joe Freeman) is abducted from his home, he wakes up in a sinister building called ‘The Institute’. He soon learns that it’s a prison-like facility where children with telekinesis and telepathy are held, run by the neurotic and evil Ms. Sigsby (poorly portrayed by Mary-Louise Parker). The Institute’s goal is to study and exploit the children’s unique powers, subjecting them to cruel, and sometimes fatal, experiments. The children must combine their abilities and find a way to escape before it’s too late. Meanwhile, local night knocker Tim Jamieson (Ben Barnes) crosses paths with Luke and seeks to expose the Institute’s horrifying agenda. Based on Stephen King’s novel of the same name, this adaptation fails to do the source material justice. The writing is weak and its eight episodes drag on. Some of the performances are so mediocre (mainly from the adult cast members) that even die-hard Stephen King fans will switch off. Sub par. Stick with the book.

SCORE:

Alex's Score 5/10

EDDINGTON

Ari Aster’s latest offering is set in the fictional New Mexico town of Eddington, population 2500, during the COVID semi-lockdown of May 2020. It’s a time of heightened political and social division. Local mayor Ted Garcia (Pedro Pascal) supports a major tech company building a data centre nearby. He gets into a power struggle over his position with Sheriff Joe Cross (Joaquin Phoenix) who opposes the mask mandate and is obsessed with usurping Garcia. Meanwhile Cross’s reclusive wife Louise (Emma Stone) becomes engrossed in online conspiracy theories. Stone feels under-utilised in the role. When locals begin participating in black lives matter protests, chaos arrives and the plot spirals off into several different directions. Phoenix gets the most screen time and this is his maturest role yet. He portrays Cross superbly in his literal “falling down” era, where things keep going from bad to worse. Sharp and loud music assaults your ears when the action gets tense, cleverly contrasting with the quiet, barren landscape of Eddington. The first hour is slow to build and at one point I wondered if the end would ever come. When it finally did, my brain hurt from processing all of the elements that unfolded. This is a film you’ll either love or hate – but either way, it’s unlike anything you’ll expect.

SCORE:

Alex's Score 7/10

Amanda’s Score 7/10

THE TRUTH ABOUT JUSSE SMOLLETT

This true crime doco revisits the highly publicised 2019 incident where actor Jussie Smollett claimed he was attacked by two masked men in Chicago. Viewed as a hate crime, the case sparked a lengthy investigation and years-long legal battle, fueled by intense media coverage. Interviews with Smollett, brothers Akimbola and Olabinjo Osundairo (who allege Smollett hired them to stage the attack) and senior figures from the Chicago police department explore inconsistencies within the case. Multiple perspectives are presented, including the common view that the incident was a hoax and the more sinister theory of a conspiracy within the justice system. Ultimately viewers are left to decide who’s telling the truth, but when the credits rolled, I still didn’t know who to believe. What a mess!

SCORE:

Alex's Score 7/10

NIGHT ALWAYS COMES

Based on Willy Vlautin’s novel of the same name, this drama follows Lynette (Vanessa Kirby), a struggling woman in Portland. Living in a humble rental home with her brother Kenny (Zack Gottsagen), who has a Down syndrome, and her mother Doreen (Jennifer Jason Leigh), Lynette races against gentrification to buy the house before rising property values price her out. When Doreen impulsively and selfishly spends their savings on a new car, Lynette must raise the $25,000 deposit she needs in one night. She turns to her contacts in the city’s seedy fringe area for help, engaging in reckless activities to gather the money and forcing her to face painful memories from her past. Despite strong performances by Kirby and Leigh in portraying their dysfunctional mother / daughter relationship, the plot is frustrating and I got bored seeing Lynette make the same mistakes over and over again. The ending left too many questions unanswered. Bleak and tedious.

SCORE:

Alex's Score 5/10

SORRY, BABY

Neurodivergent English scholar Agnes (played by talented writer and director Eva Victor) is traumatically assaulted. As she tries to move forward, the complexities of processing what happened soon begin to affect her. The plot is divided into five chapters, each covering a different year to show the passing of time. While the pacing is slow, it matches the way Agnes moves through life. There’s no backstory for her character, nor any mention of her family – her only significant support comes from her best friend Lydie (Naomi Ackie) who has relocated to New York and is married with a new baby. The constantly overcast, gloomy weather emphasises how stuck Agnes feels and the unchanging confines of her small world. Heavy moments are skilfully balanced with light humour, never undermining the seriousness of the subject matter. The performances are superb, with an excellent cast, especially Kelly McCormack as Natasha, Agnes’s neurotic and validation-seeking associate who provides much of the comic relief. There’s also an adorable bonding scene between Agnes and a stray kitten, who she names Olga, showing the healing power of animal companionship. Sombre, realistic and relatable.

SCORE:

Alex and Cath’s Score 7.5/10

Chris’s Score 7/10

Vicki’s Score 3/10

Wendy’s Score 6.5/10

Elaine’s Score 6/10

Duncan’s Score 8.5/10

Ann’s Score 8/10

THE NAKED GUN

I’ll admit to rolling my eyes when I heard a new Naked Gun movie was coming soon and I had it on my review list purely out of obligation. I expected the worst but was pleasantly surprised. Liam Neeson has big shoes to fill as Frank Drebin Jr, taking over from Leslie Nielsen (RIP), and he handles the role with deadpan confidence. The jokes come thick and fast and while they don’t all land, quite a few made me laugh out loud. It’s very pun-ny (pun intended) and over the top from start to finish. Pamela Anderson speaks in a breathless whisper as Beth Davenport, sister of a m*rder victim, and sings up a storm in a hilarious jazz club scene. She has wonderful chemistry with Neeson which has allegedly spilled over into real life and her recent resurgence back into the limelight is an absolute treat. This is a film purely made to entertain and it has a simple plot that mainly serves as a backdrop for the comedy to unfold. At just 85 minutes long, it’s an easy watch that ends before it becomes too much of the same. Filled with slapstick, stereotypes, and silliness, this reboot is a worthy successor to the original movies.

SCORE:

Alex's Score 7/10

Vicki’s Score 8/10

Marree’s Score 9/10

WOLF MAN

Blake (Christopher Abbott), Charlotte (Julia Garner) and their daughter Ginger (Matilda Firth) set off for Blake’s childhood home in Oregon after his father’s death. Blake hopes the visit will help him repair his strained marriage, reconnect with his family and deal with his past. A creature attacks them when they arrive at the property and Blake is bitten. He begins to physically transform into a werewolf and fights to maintain his humanity while struggling to control his violent urges. Scenes viewed from his perspective as he changes add to the tension. Fearing for her life, Charlotte must decide whether to help Blake or let him succumb to his fate. The emotional stakes run high as she’s forced to discover the lengths she’ll take to protect Ginger. While the attempt to capture the werewolf metamorphosis using prosthetic makeup rather than CGI is commendable, it often looked B-grade. Additionally, the absence of any full moon transitions goes against traditional werewolf mythology. By the end I felt that the supernatural element served as a metaphor for Blake’s childhood trauma. A few jump scares with a predictable plot.

SCORE:

Alex's Score 6.9/10

KANGAROO ISLAND

Lou Wells (Rebecca Breeds) is a struggling Hollywood actress who’s hit rock bottom. With her life an absolute mess, she reluctantly accepts a plane ticket from her estranged father, Rory (Erik Thomson), to return to Kangaroo Island, a place she hasn’t visited in years. Her arrival dredges up past trauma with her sister Freya (Adelaide Clemens) and forces them to confront their unresolved conflicts. Phenomenal acting from the entire cast and a realistic storyline builds the tension in this family drama. There’s love, loss and a plethora of dynamics to unpack but it never gets bogged down with sentimentality … and right when you think it might, tinges of humour lighten the mood. Filmed against the stunning quintessentially Australian backdrop of Kangaroo Island, its rugged beauty is a powerful element, mirroring the characters’ emotional states and adding to the film’s atmosphere. As someone who has joyfully visited Kangaroo Island many times, I got a kick out of seeing the true-to-life inclusion of beaches, places and local businesses. Compelling, brilliant and home-grown.

SCORE:

Alex's Score 9.5/10

Megan’s Score 9.5/10

De-Ann’s Score 8/10

Angela’s Score 7/10

FIGHT OR FLIGHT

Fasten your seat belts and sit back but don’t relax as this high-altitude fight-fest takes off. When mercenary Lucas Reyes (Josh Harnett) is assigned to capture a fugitive known as The Ghost during a commercial flight, he unknowingly steps into a deadly game of survival. There’s a $10 million bounty on The Ghost’s head, plus a hitman contract out to eliminate him. Reyes must slice, dice, and ice dozens of assassins, while trying to keep The Ghost alive. He’s a reluctant hero, struggling with addiction issues and his past transgressions. It’s a humorous and violent ride that’s not for the squeamish (chainsaw, anyone?), with lots of blood spilled and multiple people dying in innovative ways. Harnett sure can move at 47 years old! Unfortunately the plot is shaky and hits frequent turbulence, with nonsensical elements that try to be too tricky. If you can ignore these you’ll be entertained by this ‘Bullet Train’ on a plane.

SCORE:

Alex's Score 6/10

Saraj’s Score 6/10

FINAL DESTINATION: BLOODLINES

While at college, student Stefani Reyes (Kaitlyn Santa Juana) experiences recurring a nightmare of a past tragedy – the collapse of a building called the Skyview Tower, which her grandmother Iris, had foreseen and prevented in 1968. When Stefani returns home, she learns her grandmother’s actions created an inescapable debt to Death for members of her family. This triggers a series of elaborate accidents leading to over-the-top, gruesome deaths created with visceral realism. Amidst the carnage, this movie is well-crafted and gripping, making it hard to look away. The final, jaw-dropping scene is one I won’t forget in a hurry and it poses the age old question“ Can we fight fate?” If you’re a fan of the FD franchise or enjoy fast-paced horror, you’ll love this.

SCORE:

Alex's Score 8/10

WAR OF THE WORLDS

Will Radford (Ice Cube), a brash data analyst for the Department of Homeland Security, uses a mass surveillance program to monitor potential threats, and often crossing ethical boundaries to keep an eye on his own family. When meteors strike Earth and crack open to reveal large machines, Will and NASA scientist Sandra Salas (Eva Longoria) realise it’s an alien invasion. The story unfolds through multiple computer screens, sharing online calls, surveillance footage, and social media posts. This is meant to create a sense of urgency and place the audience inside the action but instead it’s a confusing and unrealistic jumble of tech nonsense. Everything about this film is disappointing – the plot, the acting, the characters, the special effects, the blatant product placement and mostly, the fact that it was even produced. It’s a fresh take we could have done without and a stain on the legacy of the original 1938 radio series. Such a mess!

SCORE:

Alex's Score 0/10

FIT FOR TV – THE REALITY OF THE BIGGEST LOSER

This three-part documentary offers an in-depth look behind the scenes of the popular reality show ‘The Biggest Loser.’ Through interviews with former contestants, trainers, and producers, it raises important questions about the sustainability of the show’s extreme methods and their lasting impact on participants’ physical and mental health. It also sheds a light on the unethical, and at times dangerous, practices used to force contestants to lose weight. Eye opening and problematic.

SCORE:

Alex's Score 7/10

Amanda’s Score 7/10

AMY BRADLEY IS MISSING

This true crime documentary series revisits the mysterious disappearance of Amy Lynn Bradley, a 23 year old American who vanished from a Royal Caribbean cruise ship in March 1998. It explores various theories, including foul play and the possibility that she fell overboard, while also delving into her family’s ongoing search for answers. Interviews with Amy’s parents, brother, friends, law enforcement officials, and individuals claiming to have seen her alive since her disappearance, aim to shed new light on the case and perhaps reach someone who has vital information. With the FBI investigation still open, the three episodes promote more speculation about her fate than definitive answers. Her devastated family remains hopeful for her return, refusing to accept any other outcome – they still haven’t unpacked her bags from that fateful trip 27 years ago. As one of Amy’s friends profoundly asks “Is it better to have hope, or to have closure?” I personally believe she fell overboard and drowned, but the evidence for all possible scenarios is inconclusive. Emotional, compelling, and unfathomable.

SCORE:

Alex's Score 6.5/10

SAY NOTHING

Based on the book of the same name, ‘Say Nothing’ explores the Troubles in Northern Ireland and opens with the 1972 abduction of Jean McConville, a widowed mother of ten, by the IRA. This event serves as a central point for delving into the IRA’s activities, the human cost of the conflict, the allure of radical politics, and the long-lasting consequences of violence and silence. The story follows the lives of various IRA members, including the Price sisters Dolours and Marian (Lola Petticrew and Hazel Doupe), known for their radicalism and involvement in a series of London bombings, and Brendan Hughes (Anthony Boyle) a charismatic military strategist. It also features Gerry Adams (Josh Finan) a prominent political figure who has consistently (but questionably) denied direct involvement with the IRA. As the characters age, they begin to realise the lasting impact of the acts they committed and seek justice against those in command. The performances are masterful, particularly Petticrew’s, which made me forget I was watching an actor and drew me deeply into Dolours world. A gripping, harrowing and complex drama that examines the choices made by its key figures and the long road to reconciliation.

SCORE:

Alex's Score 8/10

Amanda’s Score 8.5/10

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